In this commentary, I briefly present in chronological order several historical developments which can explain some of the confusions with respect to arousal that have become entrenched in the contemporary debate. These historical developments include: Immanuel Kant's eighteenth-century division of the affects into sthenic vs. asthenic; the emergence of modern conceptions of pleasure and displeasure in the West; the nineteenth-century alignment of pleasure and displeasure with “sthenic” and “asthenic” in psycho-physiology; the early-twentieth-century disruption of this nineteenth-century (...) alignment; the establishment of a new-physiological order of emotions; and the emergence of “emotional excitement” as the new feeling of the new emotion order of physiology. (shrink)

As topics in the philosophy of emotion, pleasure and displeasure get less than their fair share of attention. On the one hand, there is the fact that pleasure and displeasure are given no role at all in many theories of the emotions, and secondary roles in many others.1 On the other, there is the centrality of pleasure and displeasure to being emotional. A woman who tears up because of a blustery wind, while an ill-advised (...) burrito weighs heavily upon her digestive tract, feels an impressive number of the sensations felt by someone who is gut-wrenchingly sad. Yet, unless she feels bad, the way she feels is only a pale echo of the feeling of sadness. If she feels good in spite of the burrito and the wind, then she does not feel at all the way she would if she were sad. Likewise, a man falling asleep can hardly fail to feel his muscles relax, his heart rate fall, and so on, but unless he feels good his state is only a shadow of feeling content. This paper will begin with a sketch of the nature of pleasure and displeasure, and the relation between them and the feelings that are characteristic of emotions. It will then argue that the capacity to feel pleased and displeased is, quite literally, a sense modality: one allowing us to perceive net change in the satisfaction of our intrinsic desires. As with any sense modality, the capacity to feel pleased and displeased displays substantial modularity. The paper concludes by considering the ways in which the modularity of pleasure and displeasure contributes to effects that might reasonably be called “the modularity of the emotions.”. (shrink)

As topics in the philosophy of emotion, pleasure and displeasure get less than their fair share of attention. On the one hand, there is the fact that pleasure and displeasure are given no role at all in many theories of the emotions, and secondary roles in many others.1 On the other, there is the centrality of pleasure and displeasure to being emotional. A woman who tears up because of a blustery wind, while an ill-advised (...) burrito weighs heavily upon her digestive tract, feels an impressive number of the sensations felt by someone who is gut-wrenchingly sad. Yet, unless she feels bad, the way she feels is only a pale echo of the feeling of sadness. If she feels good in spite of the burrito and the wind, then she does not feel at all the way she would if she were sad. Likewise, a man falling asleep can hardly fail to feel his muscles relax, his heart rate fall, and so on, but unless he feels good his state is only a shadow of feeling content. This paper will begin with a sketch of the nature of pleasure and displeasure, and the relation between them and the feelings that are characteristic of emotions. It will then argue that the capacity to feel pleased and displeased is, quite literally, a sense modality: one allowing us to perceive net change in the satisfaction of our intrinsic desires. As with any sense modality, the capacity to feel pleased and displeased displays substantial modularity. The paper concludes by considering the ways in which the modularity of pleasure and displeasure contributes to effects that might reasonably be called “the modularity of the emotions.”. (shrink)

This paper considers the hedonic aspect of emotions: the fact that part of an emotion is feeling good (pleasure) or feeling bad (displeasure), in various ways, to various degrees. It argues that some aspects of what might reasonably be called the modularity of emotions reduces to the modularity of the hedonic aspects of emotions. In this regard, the way in which pleasure and displeasure reflect what is expected at the visceral level (what one is (...) jaded to, what one is hardened to, what one takes for granted...) receives particular discussion. (shrink)

Pleasure and displeasure are phenomena so familiar that there seems no need for a summary of everyday knowledge of them. This chapter describes the folk psychology of hedonic tone and the evidence on neuroscience of pleasure. In addition, the four incorrect theories of pleasure are shown. It also provides the three brief arguments to defend the thesis that pleasure and displeasure are distinctive types of conscious events rather than behavioral styles. Moreover, a representational theory (...) of pleasure and the objections to the theory are discussed. Lastly, pleasure and theories of desire are explained. (shrink)

The principle with which Hume accounts for the seemingly unaccountable pleasure that we take in tragic drama is placed in its theoretical context, and the various metaphors that Hume uses in describing this principle are examined. These metaphors are then brought to bear on an interpretative controversy concerning the result of Hume's principle for the subordinate passion. It is argued that, while Hume's considered position should have been that this passion is destroyed at the end of the process, it (...) is most likely that Hume did not consider the question very carefully, so as to form a definite answer in his own mind. (shrink)

Traditionally, pleasure has been understood in three different ways: as a simple feeling or phenomenological quality, as a behavioral disposition, and as an evaluation. While versions of these accounts – and combinations of two of them – have been attributed to Kant, I argue that Kant successfully combines all three. Pleasure, on this view, is an evaluation of an object’s agreement with a particular subject’s ability or intention to act. Because it refers to a particular subject, it (...) has a subjective felt character, and because it is about agreement with an ability or intention to act, it disposes one to action. In addition to being philosophically compelling, this reading incorporates Kant’s disparate characterizations of pleasure. (shrink)

IT WAS an outlandish, ethically questionable experiment, but this was the 1960s after all. Psychiatrist Robert Heath of Tulane University in New Orleans hoped to cure his patients' depression, intractable pain, schizophrenia, suicidal feelings, addiction, and even homosexuality - which in those days was considered a psychiatric disorder - by drowning them out with pleasure, induced by an electrode implanted deep in their brains.

Pleasure, in the inclusive usages most important in moral psychology, ethical theory, and the studies of mind, includes all joy and gladness — all our feeling good, or happy. It is often contrasted with similarly inclusive pain, or suffering, which is similarly thought of as including all our feeling bad. Contemporary psychology similarly distinguishes between positive affect and negative affect.[1..

In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging (...) with a work of art. It is rather a mental state that facilitates engagement with an artwork, and (in the long run) enables a consumer to learn how to maximize this kind of pleasure. This is where culture comes in. If you belong to a culture, you know how to engage pleasurably with an artwork that is produced so you can engage with it in just this way. The aesthetic value of an artwork is that it plays into such a culture-pleasure nexus. -/- . (shrink)

According to rationalist conceptions of moral agency, the constitutive capacities of moral agency are rational capacities. So understood, rationalists are often thought to have a problem with feeling. For example, many believe that rationalists must reject the attractive Aristotelian thought that moral activity is by nature pleasant. I disagree. It is easy to go wrong here because it is easy to assume that pleasure is empirical rather than rational and so extrinsic rather than intrinsic to moral agency, rationalistically (...) conceived. Drawing on underappreciated elements of Kant’s moral psychology, I sketch an alternative form of rationalism, according to which moral activity is by nature pleasant because at least some pleasures are by nature rational. (shrink)

Many of us are all too familiar with the experience of taking pleasure in things we feel we ought not, and of finding it frustratingly hard to bring our pleasures into line with our moral judgements. As a value dualist, Kant draws a sharp contrast between the two sources of practical motivation: pleasure in the agreeable and respect for the moral law. His ethics might thus seem to be an unpromising source for help in thinking about how we (...) can bring our agreeable pleasures into line with our moral values. But I argue that a careful reading of Kant’s texts reveals a helpfully realistic view about the extent to which we can modify our agreeable pleasures. On my interpretation, Kant shows us how to hold together two seemingly incompatible ideas: on the one hand, that pleasure in the agreeable is resistant to rational direction, and on the other hand, that we can cultivate these pleasures with a view to ethical self-transformation. (shrink)

The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement (...) as an attitude to have. I claim that seeing that nature of aesthetic pleasure requires that we divest ourselves of the following dilemma: either feelings are the non-cognitive, passive ways through which we are affected by objects; or they are cognitive states by virtue of the theoretical beliefs they necessarily involve. On my reading of Kant, this dilemma is false. Aesthetic pleasure is neither passive, nor theoretically cognitive, and yet, it is an exercise of rational agency by virtue of belonging to a domain of rationality that is largely overlooked in the history of philosophy, but that deserves, I argue following Kant, our close attention: aesthetic rationality. In the first section, I explain this nature of aesthetic pleasure, and in the second section, I respond to a charge of “over-intellectualism.". (shrink)

Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity (...) and ingenuity in the work of K. C. Bhattacharyya. Bhattacharyya is an aesthetic hedonist who grounds aesthetic normativity in freedom. (shrink)

The object of the present work is to rectify the neglect that pleasure and displeasure have been suffering from in the philosophy of mind, and to give an account of pleasure and displeasure which reveals a striking degree of unity and theoretical tractabiliy underlying the diverse phenomena: a representationalist account.

This paper presents the Universality Argument that pleasure is goodness. The first premise defines goodness as what should please all. The second premise reduces 'should' to perceptual accuracy. The third premise invokes a universal standard of accuracy: qualitative identity. Since the pleasure of all is accurate solely about pleasure, pleasure is goodness, or universal moral value. The argument proceeds from a moral sense theory that analyzes moral concepts as concerned with what all should hope for, feel (...) guilty about, and admire. This requires rejecting practical anti-empiricism, the view that moral judgment concerns empirically inaccessible norms governing action. (shrink)

Affect-based theorists and life satisfaction theorists disagree about the nature of happiness, but agree about this methodological principle: a philosophical theory of happiness should be in line with the folk concept HAPPINESS. In this article, we present two empirical studies indicating that it is affect-based theories that get the folk concept HAPPINESS right: competent speakers judge a person to be happy if and only if that person is described as feeling pleasure/good most of the time. Our studies also (...) show that the judgement that a person is feeling pleasure/good most of the time reliably brings about the judgement that they are satisfied with their life, even if that person is described as not satisfied. We suggest that this direct causal relation between the concepts POSITIVE AFFECT and LIFE SATISFACTION might explain why many philosophers have been attracted to life satisfaction theories. (shrink)

In this article we argue that it is reasonable to believe that normal vertebrate animals can feel pleasure, and that there is sufficient evidence for a capacity for pleasure in some invertebrates. It follows that the pleasures of animals are morally significant. We argue for that in a few steps. First, we explain why philosophers used to concentrate more on pain rather than pleasure in regard to animals. Second, we define the notion of pleasure and show (...) how it implies to non-human animals. Third we discuss whether animals are conscious beings and how they may feel pleasure. It is true that we do not know exactly how pain and pleasure feel to nonhumans, but this is also true for other humans. Even though we can give a detailed verbal description of what we feel, pains and pleasures are subjective and we do not have any certain insight into what another human is feeling. This limitation should not stop us from behaving in a way that takes into account the fact that both we and many nonhuman animals are beings who can suffer and enjoy. (shrink)

I argue for an alternative interpretation of some of the examples Fred Feldman uses to establish his theory of happiness. According to Feldman, the examples show that certain utterances of the form S is pleased/glad that P and S is displeased/sad that P should be interpreted as expressions of extrinsic attitudinal pleasure and displeasure and hence must be excluded from the aggregative sum of attitudinal pleasure and displeasure that constitutes happiness. I develop a new interpretation of (...) Feldman’s examples. My interpretation is plausible in its own right. Moreover, it is significant within the context of the debate. It allows the attitudinal hedonist to preserve the initial understanding of happiness that Feldman believes is open to counterexample: that happiness is the sum of attitudinal pleasure minus attitudinal displeasure and that all attitudinal pleasure and displeasure counts equally in the aggregation that constitutes happiness. (shrink)

Tom Hanauer's thoughtful discussion of my article “The Pleasures of Contra-purposiveness: Kant, the Sublime, and Being Human” puts pressure on two important issues concerning the affective phenomenology of the sublime. My aim in that article was to present an analysis of the sublime that does not suffer from the problems identified by Jane Forsey in “Is a Theory of the Sublime Possible?”. I argued that Kant's notion of reflective judgment can help with this task, because it allows us to capture (...) the experience of failure that characterizes the sublime without committing us to ontologically transcendent items. In a significant departure from Kant, however, my account does not require references to our moral vocation to explain the pleasure we take in the sublime; the pleasure comes from getting the right measure of our agency. For Hanauer, trouble for my analysis comes both from the discursive presentation of the sublime, its focus on judgment, and from the removal of references to our moral vocation. (shrink)

The principal objective for most patients seeking orthodontic services is a detectable improvement in their dentofacial appearance. Orthodontic treatment, in the mind of the patient, is something that makes you look better, feel better about yourself, and perhaps enhances your social possibilities, ie, to find a companion or make a positive impression during a job interview. Orthodontics, as a speciality, has collectively advanced the idea that enhanced occlusion (bite) improves the health and longevity of the dentition, and as a result (...) many patients seeking orthodontic services affirm that their secondary goal of treatment is an oral health benefit. It would appear that there is some disparity between the end-user of orthodontic services and the orthodontic provider's perception of what constitutes orthodontic need. The aim of this paper is to examine two contrasting models that characterise how dentists ‘sell’ orthodontic services to patients and to discuss the conflict between professional ethics, practice management and evidence-based decision-making in orthodontic practice. (shrink)

In this article, I attempt to resuscitate the perennially unfashionable distinctive feeling theory of pleasure (and pain), according to which for an experience to be pleasant (or unpleasant) is just for it to involve or contain a distinctive kind of feeling. I do this in two ways. First, by offering powerful new arguments against its two chief rivals: attitude theories, on the one hand, and the phenomenological theories of Roger Crisp, Shelly Kagan, and Aaron Smuts, on the (...) other. Second, by showing how it can answer two important objections that have been made to it. First, the famous worry that there is no felt similarity to all pleasant (or unpleasant) experiences (sometimes called ‘the heterogeneity objection’). Second, what I call ‘Findlay’s objection’, the claim that it cannot explain the nature of our attraction to pleasure and aversion to pain. (shrink)

Sidgwick holds that pleasures are feelings that appear desirable qua feeling. I defend this interpretation against other views sometimes attributed to Sidgwick—for example, the view that pleasures are feelings that are desired qua feeling, or that pleasures are feelings with a particular feel that can be specified independently of desire. I then defend Sidgwick’s view against recent objections. I conclude that his account of pleasure should be attractive to those looking for an account suitable for normative work.

In times of social upheaval, self-understanding has become shaky. Against this background, Fellmann asks the anthropological question anew: He does not inquire into human essence, but, in reference to Thomas Nagel’s question, “What is it like to be a bat?”, into subjective experience. The key concept that Fellmann rediscovers and focuses on is “life feelings”. He connects both sides of life experience, the subjective and the objective. In nine concise chapters, life feeling is viewed from diverse perspectives: from basic (...) instincts and moral sensibility to postmodern attitudes in the global and digital world. (shrink)

It is characteristic that in consideration of the issues related to feeling, one encounters a problem of its definition; it is not only about determining the essence of feeling itself but first it must be explained how we understand and use the word ’feeling’. We could give examples from Polish, German, French, English and Latin as well as Ancient Greek to look into the issue of determining ’feeling’ as a language category. Feeling is described by (...) words that are not cognates in these languages; also, the terms function in ways that overlap only partially, so they are only partial counterparts. Does it mean that the very essence of feeling is different or appears as something different to the speakers of the many languages? Or is it that some languages create the word ’feeling’ more skillfully than others, some rendering it more aptly than others? Or maybe giving a name to feeling exceeds the capacity of language? Does the lack of the equivalent of the Polish word uczucie in the Greek language mean, as is often presupposed, that feeling was beyond the ancient philosophers’, psychologists’ or poets’ perception? (shrink)

It sometimes seems to us that our judgments about what we ought to believe diverge from what we in fact believe. I may be perfectly aware that I am not particularly risking my life by flying, for instance, and yet, as I tighten my seatbelt in preparation for takeoff, I may nevertheless embrace the seemingly paradoxical thought that I am likely to die in a matter of mere seconds. In moments like this, it can feel to us like we are (...) experiencing a failure of rationality, as we seem to embrace a belief that we ourselves judge to be unreasonable. That is why philosophers have characterized these kinds of cases as akratic believing. Certainly, they leave us with that same funny feeling, that familiar dread that... (shrink)

One of the oldest platitudes about beauty is that it is pleasant to perceive or experience. In this article, I take this platitude at face value and try to explain why experiences of beauty are seemingly always accompanied by pleasure. Unlike explanations that have been offered in the past, the explanation proposed is designed to suit a “realist” view on which beauty is an irreducibly evaluative property, that is, a value. In a nutshell, the explanation is that experiences of (...) beauty are experiences in which it appears that something is beautiful, and that such experiences are identical to experiences of aesthetic pleasure. (shrink)

El artículo es una investigación introductoria de la filosofía de la educación de Jane Addams en los primeros años de actividad del settlement Hull-House. Esto incluye su etapa desde sus inicios en 1889 hasta el cambio político y epistemológico que experimentó Addams cuando se opuso firmemente a la participación bélica de los Estados Unidos a la Primera Guerra Mundial en 1917 y cuando se comprometió de forma sólida con el movimiento sufragista pacifista y la educación de las mujeres en los (...) años 20. El objetivo es examinar la crítica de Addams sobre los desajustes sociales que afectaban a la infancia y la adolescencia del Chicago de finales de siglo XIX: el “estado de insensibilidad estética,” la liberación del espacio doméstico y la corrupción política en las pandillas. En particular, el trabajo analiza la noción de educación socializada y su relación con la demanda de creación de espacios lúdicos públicos o pleasure grounds. Las actividades lúdicas y educativas organizadas en el parque infantil tenían un significado artístico, cultural y político que facilitaba la socialización de la democracia y la materialización de la reforma y el progreso lateral. (shrink)

Emotion Review, Volume 14, Issue 3, Page 206-216, July 2022. This paper develops the claim that epistemic feelings are affective experiences. To establish some diagnostic criteria, characteristic features of affective experiences are outlined: valence and arousal. Then, in order to pave the way for showing that epistemic feelings have said features, an initial challenge coming from introspection is addressed. Next, the paper turns to empirical findings showing that we can observe physiological and behavioural proxies for valence and arousal in epistemic (...) tasks that typically rely on epistemic feelings. Finally, it is argued that the affective properties do not only correlate with epistemic feelings but that we, in fact, capitalise on these affective properties to perform the epistemic tasks. In other words: the affective properties in question constitute epistemic feelings. (shrink)

Men typically express more willingness than women to perpetrate fraudulent acts like lying in negotiations. However, women express just as much willingness in some cases. We develop and test a theory to explain these mixed findings. Specifically, we hypothesize that situational cues that bring about competitive or empathic feelings mitigate sex differences in lying to negotiation counterparts. Results from four experiments confirm our hypotheses. Experiment 1 showed that men and women express equal willingness to lie when negotiating with counterparts toward (...) whom they felt either great competitiveness or empathy. Experiment 2 extended these results by confirming that men only express more willingness to lie absent competitive or empathic feelings towards a counterpart. Experiments 3 and 4 demonstrated that inducing competitive or empathic feelings toward a counterpart eliminated sex differences in lying by leading women to lie more and men to lie less, respectively. Overall, our results suggest that the extent to which negotiators experience competitive or empathic feelings play important roles in whether sex differences in lying in negotiations emerge. (shrink)

The essay gives an account of the aesthetics of the Graz school, focusing on the standpoint of the object as well as on that of emotions. Meinong’s reflection on aesthetics stems from a psychological background and comes subsequently to an ontological grounding. After examining the notions of imagination, phantasy-representation, relation and complexion, I show how the theory of production of representations, as well as that of higher-order objects, develops under the impulse of Ehrenfels’ concept of Gestalt qualities; both these theories (...) may be applied to aesthetics in the explanation of artistic creation and of aesthetic objects. Meinong identifies the specific object of aesthetics with the “objective” and distinguishes aesthetic feelings, which are true feelings, from imaginary ones. Witasek develops a psychological aesthetics built on the conceptual framework of Meinongian philosophy: aesthetic properties are ideal and extra-objective, they connect the aesthetic object to the subject’s mental attitude; an aesthetic object is an object endowed with aesthetic properties, such as beauty, which depends on the degree of pleasure or displeasure the object may induce in the subject. Witasek, though, parts from Meinong on both the conception of aesthetic objects and of imaginary feelings. In the last sections, I review the reactions to Witasek’s aesthetics, both positive and negative, within the Graz school itself (in particular Schwarz’ and Saxinger’s ideas on phantasy-feelings, and Ameseder’s on value beauty), and I sketch Ehrenfels’ and Veber’s aesthetic views. (shrink)

An object has aesthetic value (henceforth: a-value) because a certain sort of cognitive engagement with it is beneficial. This grounding in mental activity expl.